On Saturday 23 February Sara Bomans will take part in the first ‘Stadsavond’ (City Evening) organised by Studiostad in the former town hall of Hasselt, Belgium. For this evening Wim Verluyten invited his favourite artists and other creatives.
For the opening of the evening Sara Bomans meets up with fellow artists Bart Deglin and Pieter Timmers. Having recently started to experiment with using colour in a new series of paintings she will be showing ‘There is a rainbow underneath…’. As usual she she uses her particular humourous manner of observing.
The evening will further be filled with talks on art and architecture as well as musical presentations.
Saturday from 9-11pm and Sunday 2-7pm (exhibition only) at Studio Stad, Groenplein 1, 3500 Hasselt. Entrance is free.
This Thursday you can enjoy a new sonic installation by Mike Blow and Peter Batchelor at The Royal Festival Hall in London.
Inspired by Peter Eötvös’s composition Multiversum that premieres that evening in the UK, the installation is part of the Music of Today series. Blow and Batchelor are as composers based at the Music Technology Institute at De Montfort University, Leicester, which is a Music of Today series supporter.
Find an impressive video of the work in progress, which will thus sound even better during its final installation, below.
Tickets are free and unticketed.
Thursday 7 Feb 2019, 9.30 pm, Clore Ballroom, Royal Festival Hall, London
Before the event: Peter Eötvös conducts the UK premiere of his piece Multiversum, for organ, hammond organ and orchestra, 7.30pm, Royal Festival Hall
More info here
It’s been a while, but I am happy to have another review published in Leonardo Reviews.
In Powers of Time: Versions of Bergson French philosopher David Lapoujade sets out to construct a portrait of an ‘another’ Bergson, one not solely defined by the three main aspects of his thinking on affect – emotion, sympathy, and attachment.
You can find the full review here.
And finally I am a little proud of my contributor page here.
So far for blagging a bit about myself.
During this Research Network event, part of the Duties of Self Care programme, organised by Iniva (Institute of International Visual Art), artist Anna Walker will present her research on ‘When artists get it ‘wrong’. The repercussions of crossing a line: vitriol, shame and trauma’’ with a screening of some of her sound and moving image work ‘Fragments’ and a more recent work, ‘Breathe Wind Into Me’.
The film ‘Fragments’, produced as part of her PhD, explores Anna’s research on collective and intergenerational trauma, artistic responsibility and censorship. She examines tension where trauma meets memory through a series of investigations to achieve greater understanding of trauma and its wider cultural implications. The outcome being the provocative moving image piece ‘Falling’ (a part of ‘Fragments’) which features the explosive sounds of the Twin Towers falling.
‘Breathe Wind Into Me’ presented at Fabrica Gallery (January 2019) investigates the traumatic repercussions of being exiled from one’s homeland and the yearning for the motherland as a way to research identity, loss and memory. The film takes the idea of trauma back to the beginning, back to the breath.
A discussion will follow this screening to open a dialogue about the place where harm is done, raising questions about who owns the cultural space of trauma? Is it possible for artists to have dialogue about such provocative subject matter, without being scapegoated, shamed, or traumatised?
About the artist
Anna Walker (PhD) is a multi-disciplinary arts-practitioner who has exhibited her work nationally and internationally. She was awarded an MA in Fine Art from Southampton University (1998) and a certificate in Psychotherapy from CBPC, Cambridge (2010).
Her training as a psychotherapist led to her PhD in Arts and Media at Plymouth University (completed in May 2017) which explored how the body responds to overwhelming and stressful situations and reorganises itself to cope with or manage the traumatic situation.
Her research rebalances the critical with an autoethnographic approach to remembering trauma, utilising personal experiences to facilitate a greater understanding of memory, trauma and its wider cultural implications.
Date And Time
Thu, 21 February 2019
18:30 – 20:30 GMT
Chelsea College of Arts, Billiards Room
Tickets are £3.79 and can be booked via this Eventbrite link
The new year starts promising with a new installation by Anna Walker at Fabrica in Brighton, UK.
Walker uses her Making Space opportunity at Fabrica to test out a new three-part audiovisual work, Breathe Wind Into Me, she is developing for future exhibition. The work has emerged from her recently concluded PhD research which investigated the meeting place of trauma and memory and the notion of intergenerational trauma: what gets passed on down through the generations.
She will be presenting Chapter 1: The Breath, which uses film, sound and text at Fabrica. Throughout the week she will be on hand to experiment and evaluate how the different elements of the piece work together with the space, and with an audience. To help this process Anna is inviting anyone who is interested in the subject and process of developing this piece to take part in a participatory discussion on the work. This session will be recorded and used as part of Chapter 2: The Word.
Wednesday 16 January, 10am – 3pm
& Thursday 17 January, 12pm – 5:30pm
DISCUSSION: Thursday 17 January, 6 – 7pm
Anna Walker is a multi-disciplinary arts-practitioner. Her PhD, (completed May 2017), was an exploration of the tension between remembering and forgetting when recalling a traumatic event, in this instance 9/11. She employed an autoethnographic approach to remembering trauma, and ‘methodological abundance’ (Hannula, 2009) to explore the transference of traumatic affect upon an audience. Over the last 4-years she has published 8 papers on the affects of trauma on individual and collective systems, shared her research at 9 conferences and exhibited her research on 12 occasions. She is an advocate of arts-practice research as a generator of new forms of experiential knowledge that moves beyond the linguistic. She was recently selected out of 400 applicants to be part of ‘Empty Pro(e)mises’, curated by the Director of EMST Katerina Koskina and Dr. Lanfranco Aceti. With a background in body and integrative psychotherapy, she is also renowned for her expertise on trauma, speaking most recently on a panel discussion at The British Library to address ‘Let’s talk about the Windrush’ (15-09-2018) and selected from numerous applicants to be part of Impact18—Matter in Movement (November 2018) to explore digital solutions and artistic possibilities for current global issues of war, violence and trauma.
Currently Anna Walker’s research focuses on collective and intergenerational trauma and traumatic diasporas, i.e. the traumatic pathways created by migration/immigration. It is an endeavour to track the dispersal of historical and cultural fragments of traumatic diasporas, building upon Lisa Blackman’s ‘brain-body-world entanglements’ (2012) and upon what Jeffrey C. Alexander regards as a neglected domain of social responsibility and political action (2016, p.3). At this early stage the research is one of enquiry and discovery: a thinking through making, staying open to the emergent properties of the intra-psychic as well as the intersubjective. The outcome of this research— a moving imagery and sound installation, will be exhibited as work in progress at Fabrica Gallery, Brighton, in January 2019, and at The Lotus Foundation, London, in March 2019.
Fabrica is a visual arts organisation based in a former Regency church in the heart of Brighton, which commissions contemporary visual art installations specific to the building.
Fabrica is a place where artists come to make new work. Fabrica supports and encourages the artists with whom it works to be adventurous and to test the boundaries of their practice. It encourages an open dialogue between artists and visitors within the gallery space and produces an integrated programme of education and audience development activity that strives to remove barriers to access, engagement and understanding.
40 Duke Street, Brighton, UK, BN1 1AG | +44 (0) 1273 778 646 | email@example.com
This year was a bit of a bumpy ride, but Bureau Doove has nevertheless landed on its feet. To celebrate this I am sending you an image of a Liseron, a flower commonly found around here, which I photographed earlier this summer.
It is quite symbolic as Prince Charles Eduard Stuart of England or Bonnie (1720-88) visited Saint-Nazaire in 1745 to prepare the war for England and collected some seeds of the Liseron de mer or Sea Bindweed which is since then also called Prince Charlie’s Rose. He apparently sowed the seeds on the Isle of Eriskay.
This beautiful flower seems fragile, but is actually quite persistent. I am sending you this image in hope for much endurance in the months to come, thinking of my friends in the UK and anyone else hampered by political idiocy. With Bureau Doove I hope I can organise many more cultural residencies and exchanges during the coming year, as well as reporting about the work of our artists.
I wish you much beauty, friendship and health in 2019.
SUPPOSING that Truth is a woman—what then?
This is the question Nietzsche asks at the start of his Preface to Beyond Good and Evil (1886). In ‘Stripped’ 18 female artists give an answer with drawings in the ‘first Nietzschean-feminist exhibition in the world’ and Sara Bomans is one of them. In her usual self-critical, humourous way, she reflects on her body while she takes a shower sitting on a tabouret to keep her recently broken leg dry, and discovers it is actually not too bad. In the accompanying text she wonders why it had to take her so long, a broken leg and a weird position to sit in, under a running shower, to realize that her legs are actually quite nice.
You can see a section of the drawing above – the rest can be seen in ‘Stripped’ until 10 December at Het Huis van Betekenis, which is dedicated to the art of drawing, on Lauwerecht 10 in Utrecht (NL), open Monday, Thursday and Friday from 2-5pm.
Mike Blow is on his way back to Leicester after a short first node of his residency in Nantes and Saint-Nazaire. We explored opportunites to bring his work over and initiated some potential collaborations. You can follow the report and further developments on the residencies’ dedicated page here.
Mike Blow at Garage Wattignies, Nantes, 2018
Until 7pm this evening.
Submarine basis, Saint-Nazaire
Instants Fertiles #6
For the Festival Instants Fertiles #6 Dominique Leroy realizes the sound and ‘eco-transduction’ SEDIMENTS in the submarine base in Saint-Nazaire.
SEDIMENTS is an ongoing creative research that takes the form of installations in the landscape, performances, documents, and workshops. The sound installation for the submarine base is made on the basis of data collected by the GIP-Loire-Estuaire (variables and movements of the Loire captured in November 2017).
Partners : DRAC/SCAM/SNhack & n/GIP-Loire Estuaire. With the help of Marina Pirot and Jef Rolez. The Festival is organised by Theatre Athenor.
The installation can be visited on Friday 23 and Saturday 24 November from 10am-7pm at the submarine base, next to the bassin on the right of LIFE, in the alveoles 12A/12B.
Mike Blow will visit Nantes and Saint-Nazaire on this occassion for the first Bureau Doove micro-residency from Friday 23 to Sunday 25 November. During this time Blow will explore Saint-Nazaire and make sound recordings. We will also work on the collaboration with Wattignies Social Club. The micro-residencies are used to develop and discuss work over time during short periods of time.
Watch this space for a report during the weekend.